Fresh Circus # 2 European seminar on the sustainable development of circus arts - circostrada network - Cultural Mobility Information ...
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
Fresh Circus #2 tain a b le d eve lo p m e nt of circus arts
European seminar on the sus
circostrada network
Synthesis
of discussions
www.circostrada.org
25 & 26 septembre 2008
Actes
Fresh Circus #2 tain a b le d eve lo p m e nt of circus arts
Europea n seminar on the sus
12-13 April 2012
Parc de la Villette (Paris)
Contents
Fresh Circus #2
Presentation by Yohann Floch................................................................................................................................................................... p. 3
Circus at the Forefront of Europe and the Arts
Introduction by Anne-Marie Autissier.................................................................................................................................................... p. 4
Social circus: what impact for citizens?
Report by Ali Williams.................................................................................................................................................................................... p. 8
Contemporary circus aesthetics: standardisation, globalisation,
and diversity of cultural expressions?
Report by Ivan Kralj....................................................................................................................................................................................... p. 12
Artistic residency programmes: How to make use of space and time?
Report by Martine Linaer-Gijsen............................................................................................................................................................ p. 15
Which types of cooperation with business are possible?
Report by Gwendolien Sabbe................................................................................................................................................................... p. 18
How do you criticise circus arts?
Report by Koen Allary.................................................................................................................................................................................. p. 21
Audience development: the role of new media?
Report by Ludvig Duregård........................................................................................................................................................................ p. 24
“Green Circus Arts”: what environmental responsibilities?
Report by Markus Wörl............................................................................................................................................................................... p. 29
From début to retirement: which professional pathways?
Report by Sari Lakso.................................................................................................................................................................................... p. 32
Our neighbours from other continents: which collaborations are possible?
Report by Mikey Martins............................................................................................................................................................................ p. 37
After production and co-production, who is commissioning?
Report by Maaike van Langen................................................................................................................................................................ p. 40
Acknowledgments to the editor John Ellingsworth, to the translators Brian Quinn and Frédérique Louveau,
to all live translators, speakers and contributors, to our coordination assistant Victoria Seidl, to the photographer
David Konečný and to the staff of the Parc et Grande Halle de la Villette.
This project has been funded with support from the European Commission. This publication [communication] reflects the views only
of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
Cover: Cie Un Loup pour l’homme © Milan Szypura – Inside pictures: Fresh Circus #2, Circostrada Network © David Koneč ný - Graphic design: Marine Hadjès
Presentation
Circostrada Network organised Fresh Circus #2, European
seminar on the sustainable development of circus arts, on
the 12th and 13th of April 2012. The goal of this moment
of reflection and exchange was to formulate a series of
practical recommendations to improve the infrastructure
and recognition of the sector.
Fresh Circus #2
To create opportunities for artistic mobility, to bring the 2 days at Parc et Grande Halle
performing arts into the digital era, to facilitate access to
culture, to think of new economic models, to increase recognition de la Villette (Paris, France)
of the arts within society, to participate in the renewal of public 490 participants from 42 countries
policies – these are but a few of the challenges which the entire 44% of foreign participants
cultural sector faces, and each is a subject which can greatly
20 simultaneous interpreters, 4 keynote
benefit from circus’ innovative contributions.
In order to facilitate the approach and the treatment of speakers, 30 speakers, 10 moderators,
issues linked to our sector, the members of Circostrada 13 European cooperation projects
Network proposed to articulate the seminar around ten presented, 8 info sessions:
thematic working sessions.
Within this framework, in order to take into consideration
the diverse realities of Europe, we proposed that artists and 10 thematic workshops
companies, circus arts professionals, and more generally > Contemporary circus aesthetics:
those from the performing arts field send contributions standardisation, globalisation, diversity of
ahead of time in order to share their experiences and cultural expressions?
difficulties, to make known examples of good practice, and > Artistic residency programmes: How to
to help formulate concrete propositions that will improve make use of space and time?
the situation of the sector and reflect how to best position > Which types of cooperation with business
contemporary circus in the face of transnational issues. are possible?
The gathering of European circus arts professionals at the > Social circus: what impact for citizens?
second Fresh Circus conference has been surprising and unique. > Audience development: the role of new
Reunions, embraces, discussions aside or in small groups, the media?
overall ambiance gave the impression of a multicultural arts > How do you criticise circus arts?
community that was happy to examine the issues involved in > From début to retirement: which
the sustainable development of its artistic practices. professional pathways?
Exchanging views on the sector's values as well as its > “Green circus arts”: what environmental
fears and difficulties, the participants have shown that the responsibilities?
answers to many questions may lie in the existence of Europe > Our neighbours from other continents:
itself, which is today considered to be the natural space of which collaborations are possible?
expression for the circus arts, and which has brought them > After production and co-production, who
into a rewarding dialogue with the rest of the world. is commissioning?
We invite you to discover a synthesis of the Fresh Circus
Fresh Circus #2 was proposed by Circostrada Network, European platform for the
discussions and to revisit the ten themes at the heart of circus and outdoor creation, and was coordinated by HorsLesMurs. This event was
held on the occasion of the festival Hautes Tensions in partnership with the Parc
the sustainable development of circus arts. We would like et Grande Halle de la Villette, Onda, Fondation BNP-Paribas, Stradda, Institut
to share with you a few of the unique experiences of those Français/ville de Paris, the French Ministry of Culture and Communication and
the European Commission through its Culture Programme.
artists or cultural professionals who contribute day after
day to enrich the circus.
By Yohann Floch
Coordinator of Circostrada Network
3 / January 2013
Circus at the Forefront
of Europe and the Arts
By Anne-Marie Autissier
Sociologist in culture and media.
Director of the Institut d’Etudes Europeennes
at the University of Paris 8
Fresh Circus #2 took place on 12 and 13 April 2012 at La Villette’s
Grande Halle, where it provided another chance to witness the
mobilising force of the European circus arts network. Almost 500
attendees from over forty countries were present, with the topics
to be discussed at the event prepared beforehand by all members
Anne-Marie Autissier
of the Circostrada network. It would be impossible to summarise
such a huge undertaking in a way that was not incomplete and Holding a university degree in modern literature and a doctorate
partial – yet that’s just the challenge I’ve decided to take on here in sociology, Anne-Mairie is an associate professor PhD Paris 8
at the request of Yohann Floch, the event’s organiser. University and head of the department of European studies
since February 2012. She is president of the association Culture
For two days, I attended workshops and presentations, focusing Europe, editor of the magazine Culture Europe International
on what I saw as the crux of the discussions running through (with the support of the French Ministry of Culture and
these gatherings. Communication and the institute of European Studies at
Paris 8 University (www.culture-europe-international.org). She
I decided to highlight certain themes among those discussed at also works as a consultant for different French and European
the event, and I hope this necessarily incomplete rendering will organisations (European Cultural Foundation, European
succeed in transmitting the enthusiasm I felt while listening to Commission, different European artistic networks, the French
these most pertinent remarks and appreciating the vast wealth of Ministry of Culture and Communication, Institut Français, ONDA,
information offered by the Fresh Circus participants. ADAMI and Relais Culture Europe).
“A social circus and its impact on citizens”
Street and circus artists are inventing new ways of working with
development-based organisations. It’s what in the Anglophone
countries is called community circus. But looking beyond just the
language, we must also recognise the role street and circus arts participants in this process undertake. The Fresh Circus contribu-
can play in expressing the experiences of a given social group. As tions showed it is important to combine skills from both fields,
Emina Višnic, the Director of Pogon in Zagreb and Vice President artistic and social, in such a way that these two sectors are able to
of Culture Action Europe pointed out, when staring down auste- maintain their own autonomy and not dilute their expertise.
rity measures “it won’t do to just reason with people. You’ll also
need some muscle.” Furthermore, “the notion of art for art’s sake Clowns Sans Frontières have presented their work in various
will no longer cut it. We need new tools. Public institutions must countries. Their performers do not stay in one place for long, but
create platforms for citizens.” The example of Pogon shows that they prepare their intervention well in advance with local NGOs.
the role of this kind of cultural actor is to “connect what was once According to the group’s leaders, the most important thing is to
separate”, not only in the capital, but throughout the country. This hit on the right sense of time, especially as it concernws young
is how Pogon came to organise ‘expeditions’ of artists and scho- people. One appropriate tool, for example, may be international
lars in the most remote regions of the country, to “make some residency periods for social circus instructors. Between the peda-
noise”. Croatian citizens sent postcards to politicians and public gogical and the artistic, performers of Clowns Sans Frontières
discussions were organised. Former industrial sites were re-inha- wish to preserve what they see as the circus’ double role: that of
bited. In the end, Pogon managed to co-create policy with the self-expression and of an out-of-the-ordinary encounter which
City of Zagreb, and with its youth department in particular. leads to a true sense of complicity.
If the term 'social circus' has been criticised as giving rise to a lack One participant also brought up the experience of the circus
of clarity in some performances, several examples were presented school of Guinea-Conakry, Cirque École Mandingue (CEM), run
that seem to argue that the most important thing is to avoid labels. in partnership with the École Nationale des Arts du Cirque de
However, even if the 'social circus' label is studiously avoided, the Rosny-sous-Bois (ENACR). This circus group works with so-cal-
question remains of how to actually compose the training that led homeless youths. Performance tours are organised with the
January 2013 / 4
Fresh Circus – European Seminar
help of ENACR and the support of the French Institute. Regarding level, although it would appear that cultural institutions are hesi-
training and the most pertinent way to combine activism and the tant to consider the residency as a true time and space for work.
arts, the Caravan network (France) has developed a referential
document on the various skills necessary. They offer 240 hours Lastly, there are a certain number of problems regarding the rela-
of training in connection with different universities. The idea is tionship with the artist. In Spain, for example, residency plans are
to create circus “with people who don’t feel like it”, and thereby unknown to artists. Furthermore, there is a high disparity of means
to create a situation where education/creation/participation go from one residency to the next. Some artists would like more long-
together, giving a kind of “permission to enjoy oneself”. term support – two to three years. Others are unhappy with the
working conditions and do not put much value on the residency
offer since their main priority is to distribute their work.
“Artistic residency programmes: how to make
use of space and time”
“Partnerships with the business world?”
One important theme, also related to the previous one, is the
question of artistic residencies, a topic for which a working group A few examples of partnerships between artists and companies
was formed and some original experiments presented. It seems have turned out to be exemplary and a source of inspiration. The
a typology of residencies must first be established: production, circus is, in fact, a force for activism and a means of creating more
research and distribution support. fluid, less hierarchical relationships within firms that choose to
host artists.
Les Subsistances in Lyon focuses on hosting international artists
“to develop the local territory”. In response to this, Cathy Bouvard We see this in a choreography imagined by Pia Areblad, which uses
remarked that circus techniques have become increasingly sophis- the industrial lifts of an oil company: a way of paying homage to the
ticated. Consequently, work periods have become longer and the workers’ skill while also showing the possibilities of a body engaged in
need for appropriate facilities is now considerable. She believes manoeuvring machines. This activity was carried out at the initiative
that residency work must be based out of a production bureau of the collective Creative Clash/TILLT from Gothenburg, Sweden. The
that supports the development of emerging companies. show was presented in the public space. The firm’s internal and external
relations were greatly enriched by the experience. Other experiments
Working in networks appears to be a suitable response to the of this kind have been initiated by TILLT and have taken place on the
current needs and necessary costs. The other issue – and it’s national level. Short, 'custom-made' residencies have been put into
no small one – is the artists’ status during the residency period. place. According to Anna Grzelec, a member of the group, the benefits
Answers to this question remain inconsistent on the European are reciprocal. The artists acquire new skills and find a way to discover
5 / January 2013
Fresh Circus – European Seminar
new audiences. For firms, these experiences allow them to present the is not often easy to take this into account, nor is it easy to iden-
activities of their daily lives and develop a relationship with the artistic tify dramaturgical choices made when we lack a referential canon.
world, since today a business’ ability to thrive depends on the quality Lastly, it is still very difficult for a critic to make any money writing
and diversity of the relationships it is able to forge. about a circus show. Certain circus artists go so far as to assert that
they have no need for written material. It does seem, nonetheless,
Beyond the habitual mistrust that exists between the performing that the appreciation of the circus arts must involve writing, most
arts and the business world, these kinds of initiatives show how likely through new media and especially via the Internet.
beneficial cooperation can be, as long as the identity and motiva-
tion of each partner is clearly defined and respected. Despite the lack of any circus arts department in the academic
world, the number of theses dedicated to the topic has increased
Mike Finch of Circus Oz in Australia points out that, after decades significantly over the last decade. Reminding us of the role of
of indifference, the Australian government now encourages artists certain precursors in the Francophone world, such as Caroline
to approach firms about possible patronage agreements. The model Hodak, Emmanuel Wallon, Julien Rosemberg and Pascal Jacob,
of the 'artist' has indeed spread in a society in search of expressi- Anne Gonon draws a portrait of artist-scholars like Jean-Michel
vity (Genard, Jean-Louis 2009). Mike Finch therefore mentions that Guy, who saw academic research on the circus as triply beneficial,
high-level executives will pay to practice on the trapeze and to “live since it contributes to the field of research in question (history,
our artist’s life”. Circus artists organise workshops and are asked sociology, anthropology, medicine, etcetera), reinforces links with
to take part in conferences. New research paradigms between the other methodological domains, and, lastly, invigorates the artistic
circus and universities are emerging and Circus Oz continues to object of study. Anne Gonon cites, among others, the trailblazing
develop its idea of making a 'living archive' accessible on the web. experiences of the University of Quebec (UQAM, Montréal) and
the University of Dance and Circus Arts in Stockholm.
“How are critics to talk about the circus?”
– from writing to research “Arts of the ‘green circus’: What are the environmental
concerns?” What tools can be used for sustainable
The space available for the arts and culture in widespread media development?
is increasingly diminished. Despite its success with audiences, the
circus is not supported by a great deal of literature. The exercise is Yohann Floch reminded attendees that it was in 1987 in Grün-
first of all a difficult one for critics. Three levels must be taken into land that the notion of sustainable development first emerged.
account – technical, artistic and cultural. As for the artists, they He also described the gradual appearance, in this idea, of culture,
sometimes struggle to produce theoretical writing about their work. which would become the fourth pillar of sustainable develop-
The circus is first and foremost a demanding corporeal art, and it ment through the Agenda 21 for culture. Equity, social rights
January 2013 / 6
Fresh Circus – European Seminar
and ecology are now to be taken into account in cultural initia- “Our overseas neighbours: international
tives of all kinds – values that are shared by the fields of street collaboration.”
arts and circus. It must also be remembered that Fresh Circus #2
was impacted by budgetary restrictions, severe ones in some Clowns d’ailleurs et d’ici and the UBI dance company work with
European countries, imposed on all cultural and social actors the Phare Ponleu Selpak (PPS) Circus School. The French Ministry
including those of the circus. At the workshop dedicated to this of Foreign Affairs supported this initiative from 2006 to 2010. 65
question, alternative distribution models were evoked, including Cambodians are employed on the PPS site and 1250 children are
that of small itinerant circus tents, which elicit the participation involved. One hundred artists and instructors from all continents
of local companies. This inexpensive distribution model seems are sent there. Known as a cultural hub in Cambodia, PPS works
well adapted to the urgency of the moment. In such a context, to piece together the funding it needs. But it also receives support
cooperation with private companies seems decisive. Subtopia in from associations and foundations: CCFD-Terre solidaire, the Prins
Sweden presents itself as a wager laid on the importance of Claus Foundation (Netherlands), the European Union, UNICEF,
sustainable development. The idea was first to participate in UNESCO, OIF (Organisation internationale de la Francophonie),
a municipal initiative to breathe life into a rural and margina- the General Council of Seine Saint-Denis, and the Ile-de-France
lised neighbourhood south of Stockholm called Botkyrka. The region. The school organises tours in Europe, the United States
model developed by Subtopia, called 'Quadrohelix', consists of (New York in 2013) and Asia. It makes use of its own network.
four major themes: art, entrepreneurship, education and social There have been vast improvements in its professional training
responsibility. Considered to be the centre of contemporary (thanks especially to a partnership with the Théâtre du Soleil). A
circus in Sweden, Subtopia hosts several artistic companies, final paradox of global exchange is that PPS, though considered a
as well as educational and training programmes related to the cultural hub in Cambodia, is called a 'social centre' in France.
circus arts. The idea is to develop an infrastructure, supporting
local artists, as well as invited participants. Workshops, artistic
residencies, and production advice are the activities of Subtopia, To offer a provisional conclusion…
which was created as a limited liability company whose main
stakeholder is the municipality of Botkyrka. The observed differences – in terms of status, financial situation
and recognition – do not hinder the wonderful European and
international impulse that I was able to observe throughout the
“Developing audiences: what is the role Fresh Circus #2 event. Circus artists find themselves acting in
of new media?” multiform international collaborative initiatives, of which some
have proven to be very original. It goes without saying that these
The experience of RomaEuropa was presented during this works- naturally mobile milieus have come up against socio-economic
hop. An important festival, RomaEuropa stands upon its declared and legal obstacles that still exist in Europe – a sign that legislation
purpose as a foundation for the public good. After some limited has remained resolutely national, despite some areas of progress.
contact, cooperation with Telecom Italia led to the development However, in their ability to create partnerships with firms, local
of Romaeuropa Webfactory, which was intended for producers of governments, academic research and fields in difficulty, circus
Internet content, including art, videos, music, writing and street milieus seem ideally placed to implement four essential objectives
arts. Romaeuropa Webfactory organises its PerSe Visioni 3 – for a Europe of the arts: transnationalism, social cohesion, digiti-
Visual Art Exhibition with the support of the Italian Ministry of sation and sustainable development.
Youth, the Apulia Region and the Polignano a Mare commune.
Marc Benaïche, the director of Mondomix, then presented the
activities of this company, citing a few keys to success for this
type of enterprise. Mondomix has created nearly 400 websites
and multimedia historical site platforms. For three years, the firm
has worked to maintain a participative Internet experience. Marc
Benaïche insists on the need for skills, especially in community
management. Access to traditional media has turned out to be
quite difficult. But maintaining sustainable access to the Internet
is not any easier. One needs 1 million distinct visitors per month
in order to attract advertisers. According to Marc Benaïche, it
is important to internalise skills to equip oneself with the tools
necessary for true online visibility.
7 / January 2013
Social circus:
what impact for citizens?
Across the world, a wealth of initiatives are emerging that use circus arts as a means to carry out social projects within
sensitive, disadvantaged or endangered communities. Whether addressed to people with a physical or mental disability,
migrants, those facing drug addiction, or young people with learning disabilities, circus seems to be an efficient tool for
building independence, confidence, creativity and self-esteem within individuals, as well as for fostering solidarity and
cooperation among the members of a group.
Circus consists of a series of disciplines, each with its own unique virtues, but all can help people to acquire the fundamental
skills which are necessary for personal and social development. According to studies on the subject, circus uses alternative
pedagogical tools that stress well-being.
Which conditions and tools are necessary to lead successful social circus projects, and how do we measure their
impacts?
The first speaker, Catherine Magis, told us about her work setting
up Espace Catastrophe as a rehearsal and creation space for circus
in Brussels. She then spoke about a project that she had initiated
with an integrated group made up of people with learning disabi- Reporter
lities and professional circus artists. In the production Complicités
eleven mentally disabled artists and seven circus artists become
Ali Williams (Circus Development Agency, UK)
accomplices on stage. As director of the project, Magis took the
time to explore the different universes of the performers, allowing Ali Williams is founder and creative director of NoFit State
the artists to find their space and their mode of expression: "I tried Circus, a company that turned 25 years old in 2012 and
to lead the disabled artists to a place farther, higher, more absurd, that has an international reputation for creating innovative
more strange, more poetic, more philosophical …”. At the centre contemporary circus. In the past Ali has been a circus
of the project are the desires and impulses of a group of people, performer, administrator and director, and is now creative
all with different artistic skills, meeting each other in dreams and director for the company as well as a producer for the ZEPA
thoughts. project Barricade, on which Ali has worked closely with director
Oriz Azaz. Ali is also Chairperson of the Circus Development
At the start of the project, Magis worked with a larger group of Agency UK, and supports many other circus companies and
people with learning disabilities in order to teach them circus promoters in an advisory capacity. Though Ali focuses on
skills. They trained together three times a week, and then from contemporary creations she loves the traditional circus
this group Magis decided to cast elven performers and to combine lifestyle of travelling and living outdoors with a community
them with professional circus artists. It took six months to put the who share a common vision.
company together, but right from the start Magis aimed to tour
the world with the group. This meant they had to engage and get
support from the care workers and support networks that were
needed to enable them to tour.
A great benefit for the professional artists joining the company
was the necessity of working creatively to develop a common
language among the group. The professional artists needed to The workshop's second speaker, Felicity Simpson, a co-founder
excel in qualities including patience, commitment, energy and of the Colombian circus school Circo Para Todos and the direc-
honesty, and had to display a willingness to enter into an authentic tor of its offshoot company Circolombia, began her contribution
performance relationship. Each person was paired with a mentor by recalling that ten years ago there had been another, similar
and the outcomes were extremely positive. With Complicités they meeting of people working in the social circus sector (including
had succeeded in creating magic. the Australian Women’s Circus, Reg Bolton, Belfast Community
circus, and many others). At that meeting they had discussed
In addressing the workshop Magis stressed that she hadn’t chosen many issues and agreed on many things, but the one thing they
to work with an integrated group for the sake of social impact, but couldn't decide on was the term 'social circus'. Some cultures
rather because it would give her an opportunity to work with a group believe this title can stigmatise participants, while others use the
of people that could investigate new ways of communication. word to mean circus within the community – i.e non-professional
circus. Felicity suggested that circus was circus, and that it didn’t
January 2013 / 8
Fresh Circus – European Seminar
matter where the participants came from or what special needs
they might have. If they are well trained they can become profes-
sional and perform as professionals. She spoke then of the exam-
ple of Circolombia, where performers who join the company have
Hip Cirq Europ’
trained four years at Circo Para Todos, and for six months before
that in the school's community outreach programme. Circolom- The European project Hip Cirq Europ’ is a transdisciplinary
bia dislike being referred to as social circus because they feel it two-year project combining circus arts, hip-hop dance and
shouldn’t matter what your background is once you are perfor- emerging cultures that focuses on social inclusion, the
ming professionally. professionalisation of young artists, and improving the
recognition of cultures inhabited by young Europeans from
Felicity then explained that Circo Para Todos and Circolombia run disadvantaged neighbourhoods. Twelve young European artists
on an interesting model: the school is free, but the students have who are in the process of becoming professionals come
to pay back a percentage of their earnings for two years after together to create a performance work under the leadership
graduating and this fee contributes to the school's running costs. of two professional artists (Eric Mezino of Cie E.Go and Gäetan
Felicity closed her presentation by saying that she believed that in Levêque of Collectif AOC). Once the creation has been drafted,
social circus projects there is a need for concrete evidence for the the group travel through Europe and in Guadeloupe for six
effectiveness of the work. Her example was that fifteen Circolom- residencies (France, Guadeloupe, Belgium, Finland, Netherlands,
bia graduates have bought their own houses in Cali, and that the and the United Kingdom) where they work in collaboration
graduates, as well as finding work as performers, make excellent with young emerging artists and amateurs from inner cities
teachers as they understand the needs of their peers. in order to nourish their creative skills and help them develop
their own projects. The project is run by Le Plus Petit Cirque
The discussion was then opened to the floor and various participants du Monde, in association with five European partners: l’Ecole
described their work, including people that were working in Mali and de Cirque de Bruxelles (Belgium), Circus Elleboog (Netherlands),
Pakistan, people from Clowns Without Borders and Cirque du Soleil, Belfast Community Circus (United Kingdom), Sorin Sirkus
and people involved in community and youth circus projects across (Finland), Métis Gwa (Guadeloupe). The project is co-funded by
Europe. The debate took place around three main subjects. the European Union under the Culture Programme..
www.hipcirqeurop.eu
9 / January 2013
Fresh Circus – European Seminar
'Social' Circus?
The question of whether the label 'social circus' was an appro-
priate one drew passionate responses from the workshop
Speakers
participants.
Felicity Simpson (Circolombia, UK)
Many felt that it was important not to forget that the art itself
is the core value, and that social circus can achieve high quality Felicity Simpson began her career as a circus performer in
performance as well as achieving many other social benefits. It was Europe before moving to Brazil, where she founded Intrepida
recognised that the word 'social' has many different meanings, Trupe during the 80s, bringing circus into contact with
and that 'social circus' will be interpreted differently by different musicals, opera and open-air performance. During this work
communities. she met Hector Fabio Cobo Plata and formed a long-standing
professional circus partnership. In the 90s, they toured
Participants of the workshop also expressed that it can be useful the world together with a satirical acrobatic tango that
to talk about social benefits for fundraising purposes. moved between the contrasting worlds of the classical and
contemporary circus. In 1995, in Cali Colombia, the Foundation
It was recognised that people who work in this field may be Circo Para Todos was born, with Felicity as co-founder and
working with different groups with different needs, and that chair. Two years later, the school Circo Para Todos was created:
teachers might therefore need specialist training. The question the first professional circus school in the world specifically
was raised whether it is more sensible to train circus profes- dedicated to underprivileged children. In 2005 it became the
sionals to do social work or whether social workers should be Escuela Nacional Circo Para Todos Colombia, a key institution in
trained to teach circus. While this question wasn't resolved, it South America for world circus training, and a reference point
was generally agreed on that circus artists who are working with for similar projects in South Africa, Brazil, Chile and Argentina.
people of different abilities might need training to work with Felicity is also the founder and director of Circolombia Ltd,
specific target groups. a production company created in 2006 and based in London.
Besides producing shows and providing jobs as an agency
The directors of the UK youth circus organisation Albert and for the graduates of Circo Para Todos, Circolombia promotes
Friends felt strongly that there was no use in labelling people the dynamic difference of Colombian performers through
(“people are people and circus is circus”) and that the aim participation at international circus festivals and presence at
should be integration not separation. Various examples of circus major venues with the company's latest show, Urban.
projects show that it is possible to integrate young people of
various abilities in ways that not only achieve social objecti- Catherine Magis (Espace Catastrophe, Belgium)
ves but also produce quality circus performance. The more we
separate social circus by labelling it, the bigger the rift between The artistic director and general coordinator of the Espace
social circus and professional circus will become – particularly Catastrophe, Catherine Magis is also a stage director (lately
as the circus sector grows for the project Complicités), project advisor and teacher, as
well as a member of several expert groups, commissions
and boards. She is also a founder – and until May 2010 was a
Short-term / Long-term member of the board of directors – of the Maison du Cirque.
She is regularly invited to participate in meetings, conferences
The workshop also discussed the relative benefits of short- and and debates to share her expertise in the circus field.
long-term projects.
Eleftérios Kechagioglou (CARAVAN, France)
Some participants expressed that there were situations where
it could be damaging to create a short-term project that only Born in Greece, Eleftérios Kechagioglou moved to France after
leaves the people involved wanting more. However, counte- graduating from secondary school. He studied Political Science
rexamples were given to demonstrate that even a short visit and Contemporary History (Sciences Po – Paris) and collaborated
or a one-off workshop could have a significant benefit – an with UNESCO. From there, unexpectedly, he started a career
example of which was the work that Clowns Without Borders in circus, theatre and writing, working as an artist, trainer
have done in war zones. and stage director. He also worked with several theatres,
circus schools and companies. After following a vocational
The debate eventually concluded that long-term projects can education programme on Business Administration for Culture,
maximise social and artistic outcomes, but that doesn’t mean he developed different projects focusing on the social impact
that short-term projects have no value. Projects should be the of circus, theatre and writing. He is project developer and
right length to fulfil the project's aims. What is more important director of Le Plus Petit Cirque du Monde – Centre of Circus
is that the work is delivered by people who are trained to work Arts and Emerging Cultures, a project combining youth and
in the situations they are placed in. It was also pointed out that social circus, vocational training, international exchanges and
specialist training for working with disadvantaged groups was artistic residencies and partnerships with artists. Le Plus Petit
becoming more available through European funded programmes Cirque du Monde is located in Bagneux, a town in the southern
such as Caravan. suburbs of Paris that has large disadvantaged areas.
January 2013 / 10Fresh Circus – European Seminar
Evaluation and tools
TMeasuring social benefits can be difficult, but there are evalua-
tion toolkits that can be used to measure the impact of social
Circo Para Todos
circus. Participants of the workshop agreed that as the compe-
tition for money becomes fierce, the need to justify funding will Circo Para Todos was founded in 1995 in the city of Cali,
grow and it is therefore important to be capable of proving the Colombia, as the first professional circus school in the world
social value of projects and of assessing the impact they have on specifically dedicated to training at-risk boys and girls. Circo
communities and different groups of people. Para Todos has developed many community workshops within
low-income areas, and to date more than 3000 young people
As the workshop closed, it was suggested that there is a wealth have participated in these workshops in Colombia. Following
of experience and a great variety of projects already working in a the early success of its workshops, Circo Para Todos opened
wide range of fields. There are also more specialist training oppor- its doors as a professional school in 1997. At the present
tunities and trainers working in the sector, and it would therefore time, all artists to have graduated from Circo Para Todos are
be useful to create a handbook giving case studies, training direc- working professionally in their specialisation – whether in
tories, evaluation toolkits, etcetera. Europe, Central America, South America or the United States.
www.circolombia.com
11 / January 2013Contemporary circus aesthetics:
standardisation, globalisation, and
diversity of cultural expressions?
The 1970s saw the emergence of a new circus, one characterised by its research into an ideal, nomadic way of life, into
big tops and the idea of freedom. But the big top, an integral symbol of the circus for many people, gradually became less
prevalent as traditional circus acts were abandoned in favour of a theatrically denser dramaturgy that went beyond pure
entertainment in order to integrate social context. In the 90s, the idea of the 'spectacle' was replaced by discourse and
concept, and the circus invited post-dramatic theatre and contemporary dance to join in its play. Contemporary circus
came to free itself more and more from its traditional denomination, and from the year 2000 onwards circus engaged in
abstraction, visited intimate territories, and began to collaborate with playwrights.
Today, many people don’t recognise themselves as working in circus anymore – some artists refuse this category because
their work is interdisciplinary – and the public no longer find their familiar codes… Has the term 'circus' become obsolete,
and with productions and artists travelling the entire world, is it still appropriate to speak about French circus, Finnish
circus, Canadian circus, etcetera?
The working group for this session entered into lively discussions
on many topics, debating the questions of international circus
aesthetics with an energy which itself spoke of the lack of availa-
ble platforms where these issues can ordinarily be discussed. Reporter
Ivan Kralj (Mala performerska scena, Croatia)
How do we label circus performance?
Ivan Kralj is the director of Mala performerska scena, a
One essential question, however, can be said to have fuelled these Croatian organisation dedicated to contemporary circus. He
conversations: How do we label circus performance? At first glance also directs Festival Novog Cirkusa (held every November in
it seems like a 'problem' that has been identified by programmers Zagreb), manages the Circus Information Archive (CIA), and
and then pushed onto the artists, who have to present themselves leads various projects connected to producing, promoting
in a way that will bring them bookings and work. The workshop and educating in the field of circus, burlesque, sideshow and
participants gave examples of companies who had avoided the variety. After years of experience in investigative journalism,
labels of both 'new' and 'traditional' circus and in this way shut which brought him several awards, Ivan now focuses his
themselves out of both touring circuits, and, on the other hand, media work on critical writing covering culture and social
of companies who had avoided a specific label, or had adapted phenomena. He is the editor of the book Women & Circus (Mala
to take on more than one (circus, dance, theatre, etcetera), and performerska scena, Zagreb 2011) and creative producer of
consequently had managed to access the benefits of multiple the Red Room Cabaret.
networks and touring circuits.
Moving onto the question of circus' globalisation, the working
group noted that schools are taking on increasingly diverse
student bodies but that this hadn't resulted in a standardisation
of aesthetic expression. Different performance styles can, to an
extent, be associated with different national territories: artistic
research, for instance, is associated with Finnish circus, a manner
of directly addressing the audience can be perceived among
Flemish and Spanish practitioners, and so on. can be created by public funding bodies as they decide what to
support and what not to support – a fact confirmed by repre-
However, the group raised the question of to what extent these sentatives of countries from Europe all the way to Australia. The
national labels actually make it difficult for emerging artists – who group reflected that it might be very dangerous to insist on the
after all may not fit with the expected aesthetic of their natio- idea of national aesthetics because it could end up shaping artifi-
nal context. It was questioned also whether audiences could be cial territories rather than artistic territories.
disappointed because they go to see a French show with certain
expectations for what French circus feels and looks like. Partici- For the artists who do not fit with the image promoted by presenters
pants of the workshop pointed out that these national images and programmers, it becomes very difficult to succeed. A workshop
January 2013 / 12Fresh Circus – European Seminar
participant explained that if you want to experiment with circus,
and to head into new artistic territories or to create new langua-
ges, then you will have to test your ideas at experimental theatre
festivals. The group suggested that there is a dark side to the circus
Circus Arts Laboratory
festivals or venues that are focused exclusively on established, (formerly Juggling the Arts)
successful artists and using them to get results at the box office.
The New Nordic Circus Network arranges artistic laboratories
It was also noted during the session that there are few residencies for professional Nordic circus artists. The circus arts
which are focused on artistic research and which don't necessa- laboratories give young Nordic artists the opportunity to
rily have to lead to a performance/creation. Many residencies are undertake a one-week residency where they will receive the
shaped on commercial terms as well: it is expected that the artists opportunity to deepen and develop their artistic work and
will present work at the end of it. However, there are also some research, guided by internationally recognised mentors. The
examples of artistic laboratories, such as Juggling the Arts in the artists get the opportunity to test ideas, to get inspiration
Nordic countries, where artists are given space and time to deve- and receive feedback from the mentors as well as their
lop their own artistic language without having to worry about the Nordic colleagues. The project is funded by a grant from
cost and practical difficulties of such a 'luxury'. Kulturkontakt Nord.
The objectives of the laboratories are to:
Artists or Performers? - support artistic research processes within contemporary
Nordic circus art
The workshop revealed divided opinions on how to describe the - offer artistic support to young Nordic circus artists
role that circus people take: are they artists or performers? Do - support dialogue and the building of relationships and
we see circus as intellectual or technical? Although there was a networks between Nordic contemporary circus artists and
general agreement that we should avoid absolute categorisa- programmers
tion, and leave this choice to the artist, it was suggested that - support the development of creativity and professionalism
it's very important to recognise how there are few circus artists within the contemporary circus field
who are socially or politically engaged in their work. There are a www.nordic-circus.org
few artists, like Phia Ménard for instance, who use their work to
take us toward reflections on ourselves and society, but it seems
that the majority of artists, if they want to work and tour widely,
perhaps have concluded that there is a specific kind of perfor-
mance that will attract audiences and please presenters.
13 / January 2013Fresh Circus – European Seminar
One final problem that was accentuated in the discussions was
that the focus of circus schools and venues is front-on work. Right
from the start of their education, circus artists are being prepared
to enter existing performance circuits and are being taught that
non-standardised ideas are too expensive.
New Nordic Circus
Network
The aim of the New Nordic Circus Network is to place
contemporary circus on the cultural map in the Nordic
countries and to strengthen the sector at all levels. The
Nordic partnership also serves to raise more interest at
Speakers
local, national and international levels. The project is already
regarded in Europe and internationally as an example of very Marc Jeancourt (Théâtre Firmin Gémier-La Piscine, France)
good practice. The network supports, and will continue to
Director of Théâtre Firmin Gémier / La Piscine, Pôle national
support, contemporary circus productions, festivals, tours,
des arts du cirque, Marc Jeancourt has two different careers:
education programmes, and projects promoting social
theatre director and actor. He went to the university AES in
interaction..
Paris I, Nanterre and EHESS, and studied drama at the acting
nordic-circus.org school Jean Périmony. He participated in several training
courses (Claude Evrard, Christian Rist, Paul Golub), and after
being an administrator for some time became an artistic
director. He centres his artistic line around circus in big tops
and theatres and keeps a multidisciplinary touch.
Bauke Lievens (Independent Dramaturg /
Frans Brood Productions, Belgium)
Bauke Lievens works as a dramaturg, journalist and manager
for circus and theatre. As a dramaturg, she has worked with
Théâtre d?un Jour and Cie Un loup pour l?homme and she is
currently involved in the new creation of the Flemish theatre
collective Tibaldus en andere hoeren. She has published various
articles on the topic of contemporary circus. She also takes
TRANS-Mission care of the international promotion and production of several
circus companies who have found a home under the wings
of the Ghent-based Frans Brood Productions (Circ?ombelico,
The goal of the TRANS-Mission project is to improve the
Cantina and Le G.Bistaki). Bauke also teaches practical
ways in which contemporary circus' creation, production and
dramaturgy at KASK, School of Arts (Ghent, Belgium).
distribution are supported, and to increase the sector's overall
professionalisation and recognition at the European level. The
project places a particular emphasis on the writing of shows, Liv Laveyne (Belgium)
which is often neglected within this sector, as well as the
preparative steps that can be taken right from the very start Liv Laveyne is a Flemish journalist and art critic. She
of a creative work to assist its eventual distribution. writes about theatre, comedy and circus for the national
newspaper De Morgen and the cultural website cobra.be. She
www.transmission-europe.eu also publishes regularly in Circusmagazine (Circuscentrum).
Laveyne is also a programmer at TAZ (Theater aan Zee), an art
festival in Ostend taking place during the summer, where she
programmes young artists from theatre, dance, performance
and circus.
January 2013 / 14Artistic residency programmes:
How to make use
of space and time?
Why invest in artistic residencies? Odile Chenal from the European Culture Foundation is right in her remark that this
question leads on to others: Why do we invest? Why do we have to continue investing? Who is investing? Artists, public
powers, hosting structures? What do we invest: time, money, expertise? Already the number of residency programmes
for circus artists is increasing all over the world. Festivals as well as schools are establishing residency facilities and artists
have come to understand how crucial they are to their creation process.
However, artists, hosting structures and funders can play different roles in a residency, and they can have different
expectations. The artists participate in a residency in order to develop a project; to benefit from financial, technical and
human support; to find new inspirations, interact with other professionals, see other peoples, other cultures, etcetera.
The hosting structure can have various formal or informal requirements and expectations concerning a production,
but also concerning its environment or audience. It also makes the decision of either welcoming young professionals or
well-known artists as it seeks to increase its visibility within networks and to promote its activities. Lastly, the funders,
local or national, public or private, have expectations too: achieving their political objective, improving their reputation,
encouraging tourism, working on local development, promoting social integration or practising cultural diplomacy,
etcetera. Do we have to invent new models of residency, and if so, why?
The workshop began with presentations from the two speakers,
Juliette Beaume, the coordinator of the project Circ que o ! –
Pyrénées de Cirque, overseen by La Central del Circ, and Cathy
Bouvard, the deputy director at Les Subsistances.
Reporter
First was Cathy Bouvard, who explained that Les Subsistances, a
cultural centre located in Lyon, has a dedicated budget for resi- Martine Linaer-Gijsen (Theater op de Markt, Belgium)
dencies, as well as facilities to house artists and several available
spaces for creation. There are three different types of residency With a master in communications from Vrije Universiteit
at the centre: Brussel, Martine Linaer-Gijsen has worked for several cultural
> A residency to create a show, where Les Subsistances co-pro- organisations since 1991. Since 1997 she has been working
duce, invest money and provide technical support. in Dommelhof, in an institute of the regional government
> Lab residencies, where there is less material support but of Limburg that focuses on performing arts. She was first
artists can develop work and ideas without having to present in charge of the promotion for Dommelhof and the festival
anything. Theater op de Markt, and from 2005 has been in charge of
> The 'résidence pour voir', a short test residency where the centre the programmation of Theater op de Markt as well as other
allows an artist to use a space to trial a concept/idea and then outdoor theatre and circus events that Dommelhof brings
decides whether or not to follow this up with the offer of a to the Limburg region. She is a member of the advisory
further residency. commission on circus arts of the Flemish government.
Artists from various backgrounds, working in various media, can
receive a residency at Les Subsistances. The length of the resi-
dency depends on the nature of the project, as does the provision
of financial assistance, working space, and administrative and
technical support. Bouvard explained that Les Subsistances aim to
be a flexible work and production tool for artists, one that offers
them a variety of different ways to explore areas of interest in the
world today and in the realm of their own work.
Juliette Beaume then introduced herself and spoke of La Central
del Circ, an organisation which runs four new creation spaces in
the Barcelona area. The spaces have different sizes, and La Central
also provides accommodation for circus artists, with about twelve
15 / January 2013Fresh Circus – European Seminar
companies in residency each year. La Central launches calls for
artists and calls for projects and then chooses which projects to
support based on artistic criteria. La Central is also involved in
various European cooperation projects, including TRANS-Mission, Pyrénées de Cirque
Pyrénées de Cirque, and Process()s.
The project EGCC Pyr.n.es de Cirque gathers ten partners from
Once the speakers had finished their presentations the session
the transborder Pyrénées area (Aquitaine, Aragon, Euskadi,
was opened to general discussion.
Midi-Pyrénées, Navarre) around a common desire: to lift the
circus sector across the territory by supporting the venues,
centres and organisations that host circus projects.
Finance and pressure
www.pyreneesdecirque.eu
One important issue which emerged in the course of the presen-
tations, and which was discussed during the workshop, was the
fact that many hosting structures rely on public funding and are
therefore under pressure – and place artists under pressure –
to produce results and to offer public presentations at various
stages of creation. It seems there is a pressure to justify public
investment by exhibiting a product, and it is therefore common
for structures offering residencies to organise work-in-progress
viewings, previews, etcetera. The core question that emerged was Process()s
whether a residency is meant to co-produce products or to host
ideas.
Process()s gathers together The Central del Circ (Catalonia),
La Grainerie – Manufacturers of Circus Arts (Toulouse Balma),
Some participants in the workshop felt strongly that projects are
the association Animahu, and the Tourist Office of Perpignan in
not always ready to be shown to audiences, and that research and
order to encourage the creation and touring of contemporary
laboratory work should be protected within the creative process.
circus in the Mediterranean Pyrénées area through actions
Debating the question of whether artists should be allowed to
that promote the circulation of artists and works.
end a residency with 'nothing' to show for it, the counterargu-
ments that arose covered the importance of testing material on http://pyreneesdecirque.eu/spip.php?rubrique21
a 'non-professional' audience while touching on the 'importance
of artistic failure'.
January 2013 / 16You can also read
